The Queen + Adam Lambert experiment -- which began tentatively in 2012, three years after the legendary U.K. band joined the*American Idol*finalist on stage during the show’s season finale, and has been touring the globe for much of the half-decade since -- has now been fine-tuned, to the point where it should really be a permanent partnership.
This isn't to say Lambert doesn't deserve his own career. But fronting Queen should probably be the pop star's full-time gig:

Perhaps not since Mick Fleetwood stumbled upon the Buckingham Nicks duo at Sound City 43 years ago -- leading to a lineup change that would turn Fleetwood Mac into one of the biggest bands of all time -- has there been a more serendipitous fusion of two established recording acts.

The story is not just that Queen, the ‘70s and ‘80s prog-rockers with one of the most unique catalogs in pop and rock, appear to have finally settled in with Lambert; in a way that carries the franchise forward, decades after the tragic 1991 death of frontman Freddie Mercury. It’s that their new world tour, which launched in Arizona last week and arrived at the Hollywood Bowl for capacity shows*on Monday*and*Tuesday (June 26 and 27), is a seamlessly executed Vegas assault -- a just-right balance of kitsch, classic rock and ‘70s excess. It's all there; the bombast, melodrama, the drum solos, the glitter, the great songs, a crazy light show, big power chords. Even Brian May’s power cape.*
But most important is the tone. None of it takes itself too seriously -- crucial when a group is replacing a legendary member. If concert promoters need a primer on how to keep a band going after the unthinkable, Queen + Adam Lambert is a pretty good case study.

“These two gentlemen are legends of rock n roll,” Lambert said on stage*Monday*night while introducing Queen’s founding members, drummer Roger Taylor, 67, and guitarist May, who will turn 70 next month. “Every time I take the stage with them, it blows my mind at what an honor this is -- to be singing the music of Queen.”
This came about five songs in, after Lambert, 35 had ridden in on a 3-D skull (modeled after the sci-fi album cover of Queen’s '77 set*News Of The World), singing a glorious “Killer Queen,” decked in a shiny pink suit and high-heels. The song was a showcase for his theatrically trained vocals, one of several during which he put his stamp on things in a way that was faithful to the band’s past, but kept it all in the now.

“I know what some of you might be thinking -- he's no Freddie Mercury,” Lambert said, acknowledging the obvious. “I know guys, I know. Of course I’m not Freddie. I’m a fan, just like you.”
Lambert’s devotion to the catalog shows, not just on big numbers like “I Want It All,” "We Will Rock You" and “Radio Ga Ga,” but on trifles like “Bicycle Race,” during which the saucy former reality star whipped out some perfect light-opera and a couple of cute sight gags.*
For his part May remains a marvel on guitar, racing around the multilevel stage, infusing the band’s genre-busting catalog with every possible six string flourish, and veering off into crunchy mini-jams as in*“Fat Bottomed Girls,” during which Lambert dashed off for the first of five costume changes.* May took a couple of acoustic moments center stage, notably on “Love of My Life.” He seemed to become emotional when a video of Mercury appeared. The duo finished the song in unison and then Taylor joined in on drums down stage with Lambert, to continue the acoustic segment with a buoyant rendition of 1980 Billboard Hot 100-topper “Crazy Little Thing Called Love.”

The all-ages crowd appeared particularly reverential during “Under Pressure” (featuring bassist Neil Fairclough) -- the Queen & David Bowie collaboration which re-charted on the Hot 100 after Bowie’s 2016 death. And of course there was “Bohemian Rhapsody,” in all its strange and spectacular glory, synched to the 1975 music video splashed across five giant screens.
When it was over Lambert and May embraced, walking arm in arm toward the other band-members (including Spike Edney on keyboards and Tyler Warren on percussion) for their final bows. The moment was one of many during which the two men appeared happy and very connected on stage. A classic guitarist and his muse, carrying on.

__________________
When you don't know what it is
But you can't get enough of it

The Queen + Adam Lambert experiment -- which began tentatively in 2012, three years after the legendary U.K. band joined the*American Idol*finalist on stage during the show’s season finale, and has been touring the globe for much of the half-decade since -- has now been fine-tuned, to the point where it should really be a permanent partnership.
This isn't to say Lambert doesn't deserve his own career. But fronting Queen should probably be the pop star's full-time gig:

Perhaps not since Mick Fleetwood stumbled upon the Buckingham Nicks duo at Sound City 43 years ago -- leading to a lineup change that would turn Fleetwood Mac into one of the biggest bands of all time -- has there been a more serendipitous fusion of two established recording acts.

The story is not just that Queen, the ‘70s and ‘80s prog-rockers with one of the most unique catalogs in pop and rock, appear to have finally settled in with Lambert; in a way that carries the franchise forward, decades after the tragic 1991 death of frontman Freddie Mercury. It’s that their new world tour, which launched in Arizona last week and arrived at the Hollywood Bowl for capacity shows*on Monday*and*Tuesday (June 26 and 27), is a seamlessly executed Vegas assault -- a just-right balance of kitsch, classic rock and ‘70s excess. It's all there; the bombast, melodrama, the drum solos, the glitter, the great songs, a crazy light show, big power chords. Even Brian May’s power cape.*
But most important is the tone. None of it takes itself too seriously -- crucial when a group is replacing a legendary member. If concert promoters need a primer on how to keep a band going after the unthinkable, Queen + Adam Lambert is a pretty good case study.

“These two gentlemen are legends of rock n roll,” Lambert said on stage*Monday*night while introducing Queen’s founding members, drummer Roger Taylor, 67, and guitarist May, who will turn 70 next month. “Every time I take the stage with them, it blows my mind at what an honor this is -- to be singing the music of Queen.”
This came about five songs in, after Lambert, 35 had ridden in on a 3-D skull (modeled after the sci-fi album cover of Queen’s '77 set*News Of The World), singing a glorious “Killer Queen,” decked in a shiny pink suit and high-heels. The song was a showcase for his theatrically trained vocals, one of several during which he put his stamp on things in a way that was faithful to the band’s past, but kept it all in the now.

“I know what some of you might be thinking -- he's no Freddie Mercury,” Lambert said, acknowledging the obvious. “I know guys, I know. Of course I’m not Freddie. I’m a fan, just like you.”
Lambert’s devotion to the catalog shows, not just on big numbers like “I Want It All,” "We Will Rock You" and “Radio Ga Ga,” but on trifles like “Bicycle Race,” during which the saucy former reality star whipped out some perfect light-opera and a couple of cute sight gags.*
For his part May remains a marvel on guitar, racing around the multilevel stage, infusing the band’s genre-busting catalog with every possible six string flourish, and veering off into crunchy mini-jams as in*“Fat Bottomed Girls,” during which Lambert dashed off for the first of five costume changes.* May took a couple of acoustic moments center stage, notably on “Love of My Life.” He seemed to become emotional when a video of Mercury appeared. The duo finished the song in unison and then Taylor joined in on drums down stage with Lambert, to continue the acoustic segment with a buoyant rendition of 1980 Billboard Hot 100-topper “Crazy Little Thing Called Love.”

The all-ages crowd appeared particularly reverential during “Under Pressure” (featuring bassist Neil Fairclough) -- the Queen & David Bowie collaboration which re-charted on the Hot 100 after Bowie’s 2016 death. And of course there was “Bohemian Rhapsody,” in all its strange and spectacular glory, synched to the 1975 music video splashed across five giant screens.
When it was over Lambert and May embraced, walking arm in arm toward the other band-members (including Spike Edney on keyboards and Tyler Warren on percussion) for their final bows. The moment was one of many during which the two men appeared happy and very connected on stage. A classic guitarist and his muse, carrying on.

Thanks for this great article! I don't care very much about the Buckingham Nicks part because well, Mick wanted only Lindsey.

I heard great reviews about this Queen + Adam Lambert tour and I can't wait to see them in Brooklyn. While Adam Lambert is certainly not Freddie, someone has to take his place and he does it pretty well, although I preferred Paul Rodgers. Brian and Roger will be there, so that's all that matters to me.

__________________"I think what you would say is that there were factions within the band that had lost their perspective. What that did was to harm the 43-year legacy that we had worked so hard to build, and that legacy was really about rising above difficulties in order to fulfill one's higher truth and one's higher destiny." - Lindsey Buckingham, May 11, 2018.

Music groups are a lot like families and, as the above gallery of Rock’s Most Dysfunctional Bands illustrates, they have many of the same issues as your average family.
Oh sure, it’s all fun and games at first: Musicians come together, unified by a shared love of performance. Outsized dreams put a rosy tint on any early disagreements that may crop up inside their still-developing personal relationships. (They do call it “playing” music, after all.) Once that initial rush of excitement subsides, however, underlying issues tend to bubble up.
It’s not a matter of if so much as how dysfunctional a band will become as they deal with the fame (or lack thereof) that inevitably surrounds rock and roll. What’s amazing is how the same internal issues that derail so many groups actually fuel a precious, special few. For the lucky ones, emotional tension between members actually sparks their creativity, to the point that their career actually thrives from all this drama.
Some of rock’s best-known acts have weathered and even prospered amidst the most outlandish internal dysfunction, while others have gone down the tubes. Sometimes, ironically enough, that process can contribute to their legend – thanks to all the gossip generated as they crashed to Earth. In this way, dysfunction appears to be as vital an ingredient in rock and roll as sex and drugs – oh yeah, and great music.
Click through as we celebrate all of the dizzying heights and the just as precipitous lows of rock’s most dysfunctional bands.

Fleetwood Mac

While most bands deny or try to gloss over any public talk of internal dysfunction, Fleetwood Mac turned it to their advantage: first tapping into it for inspiration while recording their career best seller 'Rumours,' and then owning up to all the dirty details so that their fans felt even closer to the men and women behind the music. All of this late-‘70s drama followed the group’s early trials with founder Peter Green (who suffered a nervous breakdown), and a series of personnel shifts in the ensuring Bob Welch era. That alone might have qualified Fleetwood Mac as one of rock’s most dysfunctional bands.

A RECORD collectors’ fair made its debut appearance at Kirkgate Market this weekend, in a move which could see the event held there permanently. Vinyl lovers from across the country attended the Premier Music Fair on Saturday, with dealers and collectors swapping stories about new finds. The event is usually held in the Corn Exchange on the last Sunday of every month but fair organiser Adrian Melling said it may now run at both venues. He said: “It was interesting moving the event to a multi-function venue, as you can pick up a bit of extra interest with different people shopping.” Collectors were also invited to bring in their records and memorabilia to be valued. Mr Melling, who has been a record dealer for 40 years, said recent items brought in included a signed Beatles album. “People bring in records all the time. “We had the Beatles’ album A Hard Days Night come in with three autographs,” he said. “Many of the autographs on their albums were signed by their roadies but this one was real, although it was missing John Lennon’s autograph. “She didn’t want to sell it but it was valued at around £3,000.” With the recent vinyl revolution still increasing in popularity, Mr Melling said the most sought after records are by The Stone Roses and Joy Division. He said: “Rumours by Fleetwood Mac has been sold by the truck load and it still flies off the shelves.” The record collectors’ fair returns to its usual location of the Corn Exchange on July 30.

JACKSON, Miss. — Back in the early '90s when grunge was king and flannel was cool, Matthew Sweet blasted out of radio speakers and into the Top 10 with Girlfriend, a walloping chunk of guitar fuzz ear candy from his 1991 album of the same name.

Although that wasn't Sweet's first record, it was the one that pronounced him the king of jangly guitar power pop.

It's been more than a quarter century since then and Sweet just released his 14th studio album last month, Tomorrow Forever. The new one was funded by Sweet's fans via Kickstarter.

Sweet, a multi-instrumentalist who has worshiped Todd Rundgren and Lindsey Buckingham since his teen years, has been writing, recording and touring since his 1991 commercial breakthrough.

Sweet’s latest tour kicked off May 15 at the City Vineyard at Pier 26 in New York City and goes through Sept. 15 with a final stop in South Orange, N.J.

After a show in Jackson, Miss., on Tuesday, Sweet and his band play two nights in Atlanta on Wednesday and Thursday at the City Winery and then he moves on to the City Winery in Nashville on Friday.

5 things to know about Matthew Sweet

1. Sweet recorded three cover albums, each titled Under the Covers, with The Bangles' Susanna Hoffs. The first volume covered songs from the 1960s, the second featured tunes from the 1970s and the third highlighted songs from the 1980s. The second volume — featuring covers of Yes, Bread and Todd Rundgren — is the best of the trio.

2. Sweet, ever the Fleetwood Mac fan, got Richard Dashut to produce his 1993 record, Altered Beast. Dashut is best known for co-producing Fleetwood Mac's Rumours, Tusk and Mirage. Drummer Mick Fleetwood even makes an appearance on the album.

3. Both Debbie Peterson of The Bangles and The Zombies' founder/keyboardist, Rod Argent, play on Sweet's newest release.

4. Sweet and his wife moved from their longtime Hollywood Hills home to Nebraska in 2014. Sweet grew up in Lincoln, Neb. The couple bought an 80-year-old house spacious enough to house a home recording studio, dubbed Black Squirrel Submarine.

5. Although it's not on his '70s covers album, Sweet recorded Walter Egan's 1978 yacht rock classic Magnet and Steel in 1998. The song appeared on a soundtrack for Sabrina The Teenage Witch. It's his sweetest cover.

Disclaimer: Our Potent Pairing series aims to get you in the ballpark of the sounds on your favorite recordings using affordable, accessible pedals. The pedals featured are not the exact pieces of gear used on the recordings.

Since their original formation in the late-'60s and through various personnel changes and iterations, British–American band Fleetwood Mac has remained a hugely influential mainstay in rock music.

Their 1977 release Rumours has sold over 40 million copies to date, placing it eighth on the list of the highest–selling albums of all time behind the likes of Michael Jackson, Pink Floyd, and the Bee Gees.

Today, we're paying homage to Fleetwood Mac with another installment of our Potent Pedal Pairings series. Watch the video above for our overview of how to nail the band's seminal sounds with common guitar effects, and be sure to take a look at our library of other Potent Pairings videos here.

Click on any of the pedal graphics below for more on each of these pedals.

Just in case anybody was thinking I’m some kind of expert in all things music, I have a confession to make: I’m not. I have been an avid consumer and lover of music my whole life but not an overall expert, and I feel like something less of an expert this week after National Public Radio offered “Turning the Tables: The 150 Greatest Albums Made by Women.”
The list covers albums released in popular music genres since 1964, and the intent was to create a “canon” for music created by women, providing a guide to the best, a standard of excellence. The effort was prompted in part by the long-noted under-representation of women in best albums lists, especially lists that establish the canon for rock music.

There’s no denying that female musical artists have had a less than prominent place on broad “best” lists. No women were in the top 20 on Rolling Stone magazine’s 500 Greatest Albums of All Time, and they are vastly outnumbered by male artists on the rest of the expansive list.

The music I’ve purchased and listened to most over the years shows a similar bent, and I have to think a big part of that is because I generally gravitate toward rock music. (There’s a shocker, right?) There aren’t nearly as many women in rock as there are men, but this NPR list got me thinking about whether I’ve given women rockers a fair shake in my listening choices.

I decided to have a look at the NPR album roster and see how many albums on the list I’ve actually purchased. I’ve heard a lot of the albums on the list, of course, but I just wanted ones that I spent money on as an indication of how that list and my listening priorities mesh.

I have bought only 15 of the 150. What kind of a music “expert” has a collection with only 10 percent of the classics?

Part of it has something to do with my prime music-buying years. Maybe I’d have a greater percentage of the list if we only looked at the albums that came out from the mid-1970s to the early 1990s, when I had to shift more of the dwindling music budget to Raffi, Barney, Hans Mayer and Disney hits for the kids.

The classic albums by female artists I’ve invested in include (in order of their appearance on the NPR list) Fleetwood Mac, Lucinda Williams, Sade, Gillian Welch, Heart, Rickie Lee Jones, Linda Ronstadt, The Go-Go’s, Pretenders, Dixie Chicks, k.d. lang, Eurythmics, Joan Jett, The Bangles and Norah Jones. This does not include albums on the list I bought strictly for my daughters (Dixie Chicks, Spice Girls, Britney Spears and Taylor Swift).

I don’t think I have anything against music made by women. The last band I played in had a fantastic female singer who handled at least half our songs, and I had a lot of fun listening to and learning the cover songs we did that she sang.

Just for grins, I decided to look at the top 150 songs on another greatest albums of the rock era list and see how many of those are in my collection, again counting only ones I’ve bought. I was surprised I only had 18 of the 150, and two of those albums — Fleetwood Mac and Gillian Welch — were on the NPR list, too.

Artists from that other list in my collection include, in order of appearance on the list, Television, The Beatles, The Clash, The Rolling Stones, R.E.M., Led Zeppelin, Sex Pistols, The Who, U2, Bruce Springsteen, The Specials, Nirvana, Elvis Costello, The Byrds and AC/DC.

I’ve decided I’m not going to feel too bad about having so many great female artists missing from my collection, and I don’t regret not owning so many other classics of the rock music canon by the guys, and nobody else should feel bad either. I know these lists are somewhat subjective — especially the order of the rankings — and making people feel dumb because they aren’t up on what experts consider the classics or superior because they are isn’t the point of these lists. In a way, they are bucket lists to me, albums I should listen to while the ears are still working and the mind is still open.

I will keep that new NPR albums list handy, and when I am at a loss for what to listen to, I’ll check these albums out on Spotify. Even if I can can fit in one album on the list each week, I can get caught up on all that great music, a lot of it in genres I’ve left largely unexplored, in less than three years.

And that should still leave time for me to listen to female artists on my Spotify listening list that I would hope could one day be make the canon, including Courtney Barnett, Charly Bliss, Haim and Kristin Diable, who is coming soon to the Cavalier Theater.

NEW YORK—US officials destroyed nearly two tons of carved illegal ivory worth $8-10 million in New York’s Central Park on Thursday to denounce poaching that kills nearly 100 elephants a day in Africa.

On a brilliant summer’s day with Manhattan’s skyscrapers visible above the trees, decorative objects were placed on a conveyor belt and sent into a crusher, sending plumes of dust into the air to cheers.

The haul, which was the result of three years of hard investigative work in New York state, represents ivory from around 100 elephants.

John Calvelli, a senior official from the Wildlife Conservation Society, which helped organize the event, said 96 elephants are killed in Africa on average each day or around 35,000 a year.

The event was the third time authorities have staged a public ivory crushing in the United States since 2013.

“We’re sending a message to the rest of the world. Stop buying ivory and let’s save these elephants,” Calvelli told Agence France-Presse (AFP).

US federal officials, Manhattan District Attorney Cyrus Vance and New York Republican Congressman Dan Donovan were among the hundreds of supporters who attended the event.

“It’s not ok to be selling these goods anymore and perpetuating and prolonging the agony of the situation,”said British rocker Mick Fleetwood of Fleetwood Mac fame, who turned out to lend his support.

Speaking to AFP, he denounced the rate of elephant killing as “beyond imagination.”

“If you’re dealing in the proceeds of wildlife crime, if you are trading ivory, you’re going to get prosecuted and it’s not going to be pretty,” Vance told supporters at the event.

The New York State Department of Environmental Conservation carried out the crushing of tusks, trinkets, statues and jewelry.

The international trade in ivory was outlawed in 1989. China remains the largest market, with the United States in second place.

Beijing has said it will ban all ivory trade and processing by the end of 2017, a move that conservationists have hailed a “game changer.”

Calvelli said the three largest markets in the United States — California, Hawaii and New York — have fundamentally closed in recent years.

Elephant tusks are highly prized, particularly in Asia, where they are carved into ivory statuettes and jewelry.

The WWF estimates that in the early 20th century, there may have been as many as three to five million African elephants, but says there are now around 415,000.

Classic Album Sundays is coming to Birmingham - the ultimate experience for vinyl loversA chance to really listen to Fleetwood Mac's Rumours

Classic Album Sundays is coming to Birmingham, offering vinyl lovers the chance to really listen to a record.

The event involves hearing the story behind a cultural milestone, then sharing an “immersive listening experience” by hearing the record being played on a high quality hi-fi system.

The launch event, at Cherry Reds on John Bright Street, sees Fleetwood Mac’s Rumours played on September 24.

It’s to celebrate the album’s 40th anniversary of the group which includes Christine McVie who used to live in Bearwood.

Rumours is their bestseller and also one of the bestselling albums of all time with more than 40 million copies sold.

It boasts favourites like Dreams, Go Your Own Way, Don’t Stop and The Chain.

Chris Watkiss and Raj Jassal are bringing CAS to Birmingham and say: “Listeners will hear the album in a way few ever get to, getting as close as possible to the artist’s original intent. It reminds people what they love about music.”

The event takes place between 2pm and 4.30pm, with a uninterrupted full vinyl playback of the album followed by the chance to talk about the experience.

Tickets cost £7 and are available here.

Classic Album Sundays currently takes place in venues including London and Cambridge, where music lovers listen to vinyl like Michael Jackson’s Off The Wall, Pink Floyd’s Dark Side of the Moon and Rolling Stones’ Exile on Main St.

Tom Petty played the Boston Garden on this night in 1981. He did 3 encores that night! The first one began with an old Isley Brothers tune – which one?

ANSWER: “Shout” (you may also know the Otis Day & the Nights version)
What else happened on this day in rock n’ roll history? Here’s the Rock N’ Roll Diary for August 7th, from the College of Classic Rock Knowledge – 100.7 WZLX!

1970: Fleetwood Mac welcomed its first female member: Christine McVie, wife of Mac bassist, John McVie. Prior to joining the group she recorded solo under her maiden name, Christine Perfect.
1974: Peter Wolf married Faye Dunaway. The two later divorced.
1979: A crazed Marshall Tucker Band fan in California stole a car from the parking lot outside the Long Beach Arena and drove right into the building, smashing down two banks of metal doors and one concrete wall in the process.1987: A Fleetwood Mac band meeting turned ugly when guitarist Lindsey Buckingham announced plans to strike out on his own and then resigned from the band.
2002: Ozzy Osbourne rejoined Ozz-Fest in Clarkston, Michigan after taking a few weeks off from the tour to be by wife Sharon’s side as she began chemotherapy treatment for colon cancer. That therapy was successful in forcing Sharon’s cancer into remission.
In the WZLX ticket stash…

Fleetwood Mac will go down in history as one of the most renowned rock bands of all time. The British-American band made their debut on August 13, 1967, 50 years ago this past weekend.

The band played their first gig at the National Jazz and Blues Festival in the United Kingdom. The group was at the time made up of Mick Fleetwood, Peter Green, Jeremy Spencer and Bob Brunning. A few weeks after Fleetwood Mac’s debut, Brunning was replaced by John McVie. Mick Fleetwood actually named the band Fleetwood Mac as a way to try and recruit McVie into the group.
The debut self-titled album was released in early 1968, and was a bluesy rock style of record. While the album did not have any songs initially released as singles, it contain a track that would be a big hit on the charts about two years later. The album cut “Black Magic Woman” was covered by Santana in 1970, and when released as a single reached as high as the #4 spot on the Billboard Hot 100.

When most of us think of Fleetwood Mac we think of the updated lineup of the band that came in the mid-1970s. The new makeup of the group included original member Mick Fleetwood, early addition John McVie, as well as newcomers Christine McVie, Lindsey Buckingham and Stevie Nicks. The newly revised Fleetwood Mac released their second self-titled album, referred to by many fans as the “White Album,” in 1975.
The 1975 Fleetwood Mac album was a huge success for the band. It reached the top of the Billboard album chart in the United States, much of which can be attributed to the promotional singles. Three of the five official singles from the record were Top 20 hits including “Rhiannon,” “Say You Love Me” and “Over My Head.” However, this week we want to remember a track from that album which was not originally released as a single, but would eventually become the biggest hit from the record.
The eighth track of the album was a song that Stevie Nicks had written prior to joining Fleetwood Mac. She wrote “Landslide” while staying with friends in Aspen, Colorado. As she looked out over the mountains surrounding her she thought about how all the snow could just fall down around her. At that time she was emotionally dealing with a lot. She was considering giving up on music and going back to school, and her father was about to have surgery.

The Stevie Nicks penned “Landslide” was first a hit on the charts when the Smashing Pumpkins covered the track and released it as the B-side for their 1994 single “Disarm.”The acoustic cover received mainstream success, breaking into the Top 40 and hit #3 on the Alternative Songs chart.
Four years after the Smashing Pumpkins found success with “Landslide,” Nicks and Fleetwood Mac finally released their own version of the track as an official single in 1998. The live version of the song was released off of their 1997 album The Dance. The Fleetwood Mac original track would finally be certified Gold in 2009, marking 500,000 copies sold.

The most commercially successful release of “Landslide” came from neither Fleetwood Mac, nor the cover done by Billy Corgan and the Smashing Pumpkins. Rather it came in the form of a cover done by the country trio of the Dixie Chicks in 2002. Released as the second single from their album Home, it reached the second spot on the Hot Country Songs chart, and #7 on the Hot 100.
So in honor of the 50th anniversary of the debut performance by Fleetwood Mac, this week we take a moment to remember their 1975 Stevie Nicks penned hit “Landslide”. Enjoy.